In my earlier posts on Mahendra Kapoor I have described him as the most ‘unloved’ singer. The general impression is that his entry into films started with his winning the ‘All India Murphy Metro Singing Contest’ in 1957 for which the judges were Anil Biswas, Naushad, C Ramchandra, Vasant Desai and Madan Mohan. One of the incentives of the competition was that the winner would get a chance to sing in films composed by the judges. However, Mahendra Kapoor had been singing in films in bits and pieces prior to the contest. He debuted as a singer in Madmast (1953), composed by V Balsara, in a duet with Ghan Indorewala, Kisi ke zulm ki tasveer hai majdoor ki basti. He also sang a qawwali in the film with SD Batish, Unhein dekhein to wah munh pher…Humein aankh dikhatein hain. But the music of this film failed to create any impact. Mahendra Kapoor got his first solo, Tere dar ki bhikmangi hai data duniya sari, in the film Diwali Ki Raat (1956), composed by Snehal Bhatkar. In the same year he sang a duet with Sabita Banerjee, O bedardi jaane ke na kar bahane, in the film Lalkar, composed by Sanmukh Babu. These songs, too, sank without a trace.
In an interview with Shishir Krishna Sharma for Beete Hue Din Mahendra Kapoor stated that he had sung a few lines in the song Joru ne nikala hai diwala in the film Madhur Milan (1955), composed by Bulo C Rani, but his name did not figure among the singers of this song. More depressingly for him, with Khayyam’s help he got a chance to sing a Heer in the film ‘Heer’ (1956), composed by Anil Biswas. But even after waiting for a couple of months, he didn’t get any payment for his work. It seems Anil Biswas forgot to include his name among the singers in the list sent to the accounts section. To add insult to injury, his song was not included in the film.
In this state of frustration and dejection with the film world, he was a reluctant participant in the Murphy Contest, forced by his friends. It was expected that winning the competition would turn his fortunes, but one of the participants challenged his selection on the ground that he was a professional singer. Anil Biswas came to his rescue that he was not paid for Heer. But a producer started blackmailing him as he had in his possession a signed receipt by him for a song he had sung in his film. The disaster of jail and fine was somehow averted with the help of some well-wisher who managed to put the said receipt out of the way.
With the coast clear, Mahendra Kapoor did get some songs from the judges, but only notionally by Naushad, and hardly noticeably by Anil Biswas. Of the remaining three, only C Ramchandra gave him some landmark songs in Navrang (1959) and Stree (1961). But CR’s principal claim to fame in the Golden Era was for songs by Lata Mangeshkar, and Talat Mahmood to some extent, and after breakup with Lata Mangeshkar he was on fast decline.
Thus, had Mahendra Kapoor banked on the ‘stalwart’ judges to boost his career, he would have remained stuck where he was. In this state of uncertainty, OP Nayyar on the rebound from Rafi due to some ego issues took Mahendra Kapoor as his main singer in a number of films. (Hans Jakhar in his post on Ravi-Asha Bhosle combination believes that the reason for OPN-Rafi hiatus lay somewhere else.) But the biggest boost for him came from Ravi who became a regular for BR Chopra Films, after their initial collaboration with various other music directors. It seems BR Chopra had his own issues with Rafi, and he was quite happy to find an alternative male voice. Mahendra Kapoor had sung some outstanding songs in BR Films’ Dhool Ka Phool (1959) and Dharmaputra (1961), composed by N Datta. Once Ravi became their regular music director in films like Gumrah (1963), Waqt (1965), Hamraaz (1967), Aadmi Aur Insaan (1970), Dhund (1973) and Nikaah (1982), Mahendra Kapoor as the lead singer in these films was propelled into a higher orbit. He was no longer ‘a poor man’s Rafi’, but Ravi-BR Chopra-Sahir Ludhiyanavi’s Mahendra Kapoor, a leading playback singer in his own right. Ravi gave him songs outside BR fold too, and once in the higher orbit, Mahendra Kapoor also got pride of place in some other big banners like Manoj Kumar-Kalyanji-Anandji. Of the three Filmfare Awards Mahendra Kapoor won for the best male playback singer, two were for songs composed by Ravi: Chalo ek baar phir se ajanabi ban jayein hum dono and Neele gagan ke tale, dharti ka pyar pale.
Hans Jakhar wrote a guest article showing how Shakeel Badayuni’s association with Ravi was revitalising for him, and opened for him new opportunities when he appeared to be at a dead end with Naushad and Ghulam Mohammad. Ravi’s role in the career of Mahendra Kapoor was even more seminal as a rocket launcher in boosting his career and making him one of the major playback singers.
Whenever I have written on Mahendra Kapoor earlier, Ravi figured prominently. Chalo ek baar phir se ajanabi banj jaayein hum dono was a song from the highest orbit, standing as tall as the best of the best. It deserved a post by itself. In my posts on his best solos and duets too, a number of Ravi’s compositions find place, such as Ye hawa ye fizan hai udas mera dil (Gumrah, 1963), Aapke paas jo ayega (Kaajal, 1965), Husn aur ishq ke takrane ki raat ayi hai (Sagaai, 1966), Tum agar saath dene ka wada karo (Hamraaz, 1967), Beete hue lamhon ki (Nikaah, 1982); Aaj ki mulaqaat bas itni (Bharosa, 1963); In hawaaon mein in fizaaon mein (Gumrah, 1963), and Din hain bahaar ke (Waqt, 1965).
That is quite an impressive array of songs already covered on SoY prominently. But Ravi being the most powerful rocket launcher to put Mahendra Kapoor in higher orbits, there are many more great songs still out there. Let us enjoy some of these songs in the continuing series as a tribute to Ravi.
Solos
1. Aap aye to khayal-e-dil-e-nashad aya from Gumrah (1963), lyrics Sahir Ludhiyanavi
I have mentioned earlier that Ravi composed several great songs in a film. And here is another superb ghazal from Gumrah. This song is in the style of Rafi, but you do not find anything amiss. Mahendra Kapoor brings his own unique charm, and thank God for that – he was not a clone of Rafi. The picturisation is as good as the other songs in the film, though it is in an enclosed sound-proof recording studio. You can see from the glass partition an ensemble of a large orchestra comprising a variety of Indian and Western instruments. Mala Sinha, sitting quietly inside the booth, knows Sunil Dutt is addressing her, but this is a beautiful relationship which had a past, but has no present or future.
2. Muddat ki tamannaon ka sila jazbaat ko ab mil jaane do from Kaajal (1965), lyrics Sahir Ludhiyanavi
This recital style nazm is again in Rafi style. In this one I admit Mahendra Kapoor is indistinguishable from his idol, and I would understand if someone felt it would have been better if Rafi had sung it. The audio quality is unfortunately poor, but the song is outstanding.
3. Khafa na hona agar main poochhun, kahan se paya ye husn-o-shabab tumne from Sagaai (1966), lyrics Rajnedra Krishna
As Biswajeet does a Shammi Kapoor, Ravi creates a song for Mahendra Kapoor in the style of what OP Nayyar or Shankar-Jaikishan would have done for Rafi for the original star. A very good song though.
4. Hey…Neele gagan ke taley dharti ka pyar paley from Hamraaz (1967), lyrics Sahir Ludhiyanavi
My favourite from this film is Tum agar saath dene ka wada karo, which I have covered earlier. But Neele gagan ke taley must have been reckoned better to win the Filmfare Award for Mahnedra Kapoor as the best male playback singer. Raj Kumar looks dashing with Vimi amidst sylvan surroundings. So here is a landmark song in the career of Mahendra Kapoor.
5. Ae jaan-e-chaman tera gora badan jaise khilta hua gulab from Anmol Moti (1969), lyrics Rajendra Krishna
I remember this film was publicised as the first ‘underwater’ film of Bollywood, and this song was supposed to be erotic. From today’s standards those were funny days. But the song is quite delightful. At high pitch when Mahendra Kapoor sings ‘qayamat’, you can notice his very distinct tonal quality.
6. Doli chadh ke dulhan sasuraal chali, kaisi hasrat se babul ki dekhe gali from Doli (1969), lyrics Rajendra Krishna
In my inaugural post on the series on Ravi we have seen he was a many-splendoured genious who composed several iconic songs on themes and for occasions. Babul ki duayein leti ja has acquired great fame as a vidaai song, but some readers felt that Rafi seemed to be making extra efforts to create vibration in his voice to show pathos. In Doli chadh ke dulhan sasural chali there is no attempt to create sadness; the background song is in fast beat, but it is adequate to describe the scene of the bride leaving her father’s home for her husband’s.
Duets
7. Agar mili na mujhe tum to main ye samjhunga (with Asha Bhosle) from Kaajal (1965), lyrics Sahir Ludhiyanavi
In Kaajal, Ravi gives Rafi and Mahendra Kapoor almost equal billing, with the former singing for Raj Kumar, and Mahendra Kapoor for Dharmendra. Here is a delightful duet picturised on Dharmendra and Padmini in natural surroundings.
8. Hum jab simat ke aapki baahon mein aa gaye (with Asha Bhosle) from Waqt (1965), lyrics Sahir Ludhiyanavi
Waqt was a massive multi-starrer, with all the familiar tropes thrown in: Riches to rags, natural disaster separating the family and the three kid brothers, who are brought up by different ‘parents’, romance, songs, beautiful dresses which became fashion style of the era, murder, court-room, and final recognition and reunion. Here is a nice romantic duet picturised on one of the lead pairs.
9. Apni ankhon ke jharokhon mein bitha lo mujhko (with Asha Bhosle) from Man Ka Meet (1968), lyrics Rajendra Krishna
Not from BR Films, nor big stars, but Ravi creates a superb duet for his favourite singers Mahendra Kapoor and Asha Bhosle (we can count Mahendra Kapoor along with Rafi as Ravi’s favourites). Since video quality is poor, I am posting an audio link.
10. Neele parvaton ki dhara aayi dhoondhne kinara badi door se (with Asha Bhosle) from Aadmi Aur Insaan (1969), lyrics Sahir Ludhiyanavi
A BR Films production with big stars Dharmendra, Saira Bano, Firoz Khan and others had equally impressive music, with Mahendra Kapoor as the lead male singer. This duet between the lovers in the backdrop of a waterfall and mountains is pure Bollywood.
11. Ijaazat ho to poochhein aap hi se ki hum milkar bhi hain kyon ajanabi se (with Asha Bhosle) from Aadmi Aur Insaan (1969), lyrics Sahir Ludhiyanavi
While Neele parvaton ki dhara was quite popular on the radio, I have come acorss Ijaazat ho to poochein aap hi se for the first time while researching for this post, and frankly bowled over despite its similarity to the tune of Ae sanam jsne tujhe chaad si soorat di hai (Mukesh, Deewana, 1967, SJ). I equally admire an ‘inspired’ song if it is done well, and I like Sahir’s poetry – If you allow me I would ask only you, why do we feel like strangers even though we have met so closely?
Acknowledgements and Disclaimer: I would again like to acknowledge Shishir Krishna Sharma for his interview of Mahendra Kapoor for Beete Hue Din on which initial remarks in this post are based. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over the songs, which rests with the respective copyright oweners, such as Saregama India Limited and others.
{ 77 comments… read them below or add one }
Excellent article…..
The theme had to be dealt with at some point. One of the most fruitful Composer_ Singer teams. Yes, Ravi had a huge role in making Mahendra Kapoor an A list singer. And, B R Films_ Ravi _ Mahendra Kapoor combination continued to the 80s. .. including television ( the immensely popular MAHABHARAT title track….Athah Shree Mahabharat Katha… being the most distinguished.)
The Gemini tear jeeker, GHUNGHAT, 1960, directed by Ramanand Sagar must be the first time Ravi worked with Mahendra Kapoor, giving him two duets with Asha Bhonsle.
Lyrics: Shakeel Badayuni.
Do nain mile
Do phool khile…
A regular love song featuring Pradeep Kumar and a very young Asha Parekh basking in the success of DIL DEKE DEKHO.
Akhiyan ye akhiyan
Kya kya nazare dikhaye…
A stage performance, with Asha Parekh dancing with sahelis. A lively song about the Eyes turns solemn and philosophical with the entry of a blind man_ an extra? ( as a part of the show, of course) who sings in MK’s voice…
I think, in the movie, the stage show was in aid of a charity to help the blind.
Duniya mein reh kar
Duniya na dekhe
Ye kaisi majboori!
Humko bhi koi aankhen de de
Kar le asha poori….
Rafi had a solo ( background) and a duet with Asha Bhonsle ( on Pradeep Kumar).
The most well known songs from the movie are two Lata solos:
More cham cham baaje paayaliya…
( Bina Roy_ bagged the Filmfare best actress award.)
Laage na mora jiya….
( Asha Parekh.)
We had a bunch of music lovers who love the AADMI AUR INSAAN beauty
Zindagi ittefaq hai…as evident from the discussion on Ravi_ Asha Bhonsle post.
Some of my friends who love music, but are not too keen on the details, somehow assume it is an Asha solo!
To complete the AADMI AUR INSAAN _ Mahendra Kapoor list_
Jaagega insaan zamana dekhega….
( MK & chorus.)
Dil karda I Yaara Dildara….
(MK, Balbir, S Joginder & chorus.)
PS: Is Ijaazat ho toh pooche a deleted song? I don’t remember seeing it in the movie or on television.
Mr Naik,
Thanks a lot for your appreciation.
Dr Shetty,
Ravi-Mahendra Kapoor has to be one of the most fruitful combinations, especially for the singer, and as the songs turn out to be gold, for the music director too. I don’t blame your friends for Zindagi ittefaq hai. The Asha Bhosle solo was more famous. It’s duet version by Asha Bhosle and Mahendra Kapoor suffered in comparison.
Ijaazat ho to poochhein is listed as one of the songs of Aadmi Aur Insaan. I don’t know whether it was removed from the film. By the way, this song grows on you, and I can’t help feeling it is so similar to Tum mujhe bhool bhi jaao to ye haq hai tumko.
Apart from Ravi from what I gather ,Mahendra Kapoor was supported by three other composers in the 60s and 70s ,C Ramachandra, Kalyanji Anandji and OP Nayyar. In the complete decade of the 1960 to early 70s Mahendra Kapoor was the most prominent singer for C Ramachandra. Only in one movie in 1970 did he get back Rafi to sing for him in ROOTHA NA KARO . In the case of OP from mid sixties after the temporary break up with Rafi he brought Kapoor to sing some of his best songs! And of course, Kalyanji Anandji was a constant supporter for Kapoor and later Lakshmikant Pyarelal also gave him some songs.
KB,
In my post I have mentioned the three other music directors: C Ramchandra, OP Nayyar and Kalyanji-Anandji, but comparatively Ravi did the most to boost MK’s career.
A beautiful write up. There is no doubt that Ravi did the most for Mahendra Kapoor.
One song mentioned in the write up…
Film…. Gumrah , 1960
Song … Ye Hawa ye fizan..
Singer … Mahendra Kapoor
MD….. Ravi
Link…
https://youtu.be/DDS1JlaZ_SM
An enjoyable song from BADI DIDI, 1969.
Lyrics: Rajinder Krishen.
Manna Dey, Mahendra Kapoor & chorus.
Huyi na paida ab tak apne liye koi Shehzadi
Warna apna bhi ho jaata
Jhat mangni phat shaadi…
Manna Dey and Mahendra Kapoor on Mehmood and Jeetendra, respectively,in this Marriage related song.
S Joseph,
Thanks a lot for your appreciation. Ye hawa ye fiza is my great favourite.
As always, a beautiful write-up. You create magic with your words as Chitragupta does with Lata Mangeshkar !! I should be permitted to add one duet here :
रंगीन फ़िज़ा है, आजा कि मेरा प्यार तुझे ढूंढ रहा है
फिल्म–बहू- बेटी (1965 )
https://www.youtube.com/watch?v=Aj_xR_ECAdw&feature=emb_logo
The third Mahendra Kapoor_ Asha Bhonsle duet from WAQT:
Maine ek khwab sa dekha hai.
The remaining ones from HUMRAAZ:
Kisi pathar ki moorat se
Mohabbat ka irada hai…
Na munh chupa ke jiyo
Aur na sar zhuka ke jiyo…
Tu Husn hai, Main Ishq hoon
Tu mujh mein hai
Main tujhme hoon…
( Asha Bhosle)
The stage performance with Sunil Dutt and Mumtaz donning the roles of the legendary lovers acoss the continents, Sohni Mahiwal, Salim Anarkali and Romeo Juliet… with the common refrain,
Saath jiyenge Saath marenge ,
Yahi hai fasana.
The porcelain beauty Vimi, though a part of every song in the movie, didn’t lipsync for any of them. She was a listener , either solo ( Neele Gagan ke tale/ Tum agar saath dene ka), or as a member in a party/ celebration (Kisi pathar ki moorat se) or as a member of an audience/ spectators ( Na munh chupa ke jiyo & Tu Husn hai Main Ishq hoon).
Has the word parastish been used in any film songs other than
Kisi pathar ki moorat se?
I missed adding this beautiful composition of Ravi Shanker with Geeta Dutt from 1962 film Godaan :
ओ बेदर्दी क्यूँ तड़पाये जियरा मोरा रिझाये के ओ निरदर्दी मैं पछतायी तुझसे नेहा लगाय के
https://www.youtube.com/watch?v=lUYqkqJgeYM
I am sorry , Godaan song does not qualify here .
Rakesh ji,
GODAAN composer is Sitar Maestro ( Bharat Ratna) Pandit Ravishankar and not Ravi ( Ravishankar Sharma).
You may have enjoyed his creations in ANURADHA , 1960.
DHARTI KE LAAL , NEECHA NAGAR, both 1946 & MEERA, 1979 were his other Hindi movies.
Satyajit Ray’s PATHER PANCHALI, APUR SANSAR , APARAJITO are a few noteworthy Bengali movies with music by him.
Richard Attenborough’s GANDHI, 1982, English, had got him a nomination for The Best Original Music score at the Academy ( Oscar) Awards.
( Bhanu Athaiya became the first Indian to win an award _ for the same film_ Costume Design).
Two duets from 1967.
NAI ROSHNI.
Main gunehgar hoon
Jo chahe saza de mujhko.
Lata Mangeshkar, Rajinder Krishen.
On Biswajit and Mala Sinha.
Rajkumar and Shailesh Kumar, in the movie, have playback by Rafi.
AURAT.
Ye kaun hai jiske aane se
Sooraj ki kiran sharmayi hai…
Asha Bhosle, Shakeel Badayuni.
On Feroz Khan and Padmini.
Dr. Shetty # 15
Sir,
I thank and appreciate your concern to correct me, in absence of which
I would have been deprived of an interaction with your goodself. But
Sir, I had already realized my folly vide # 14
Regards
Dr Shetty @9,
I have not heard the song Hui na paida ab tak apne liye koi shezadi. Is YouTube link available?
@12,
All the songs you have mentioned from Waqt and Humraaz are my great favourites. Kisi patthar ki moorat se: Vimi was literally a stone beauty, and her career quickly evaporated.
@16,
All the songs you have mentioned are outstanding. Ravi had a Midas touch.
Rakeshji @11,
Thanks a lot for your appreciation. I heard Rangeen fiza hai for the first time. Nice song, thanks a lot.
Rakesh ji,
I saw your comments after I had typed mine and posted!
Anyway, yes, I am also happy to have interacted with you.
AK ji,
Chat ( ignore the typo jhat in the earlier comment) mangni phat shaadi…
https:// youtu.be/ WAr9A42lp_E
BABUL KI GALIYAN, 1972.
MK, Asha Bhonsle and chorus.
Rajinder Krishen.
Suno re suno logon meri kahani
Kehti hai duniya mujhe Bambai ki Rani
Mera naam hai Chaupati..
….
….
Pyar nahin toh Zindagi
Ek adhura khwab hai
Jisme na rang na khushboo ho
Woh bhi koi Gulab hai?
Duniya ki baat
To hell with it!
Din ho ya raat
To hell with it
Aajaa laga le dum pe dum
Mit jaye gam, reh jaye hum…
A solo stage performance of Hema Malini leads to this portion of the song.
Can this portion counted as a parody of Dum maaro dum?
Earlier in the song, there is an acceptable parody of Sar jo tera chakraye ya dil dooba jaaye.
https:// youtu.be/ pByvUPETtmU
GANGA TERI PAANI AMRIT, 1971.
Manna Dey, MK; Sahir Ludhianvi.
Hame yaari se garaz
Yaar jo bhi kare..
….
Dildaari se garaz…
UMMEED, 1971.
MK, Usha Mangeshkar.
Shakeel Badayuni.
Aajaa meri Jaan Tere Qurban tere deewana….
Picturised on Agha and ? Chandrima Bhaduri.
The Nitin Bose directorial had Ashok Kumar, Joy Mukherjee, Nanda and Leela Naidu.
Mujhe Ishq hai tujhi se
Meri Jaan Zindagani…. Rafi..is the most popular song from the movie.
Ravi sang the title song,
Insaan jee raha hai umeed ke sahare…in the background, with the titles rolling.
And,
Mera dil hai pyar ka aashiyan…
On Joy Mukherjee playing a piano.
Ravi displayed a bit of vanity here ,in the titles. Or, could it be the handiwork of the producer/ director ?
Title Song written by
Music Maestro
Ravi
Title Song and The Piano Song
Sung by
Music Maestro
Ravi.
BHAROSA, 1963.
MK, Lata Mangeshkar.
Rajinder Krishan.
Aaj ki mulakat bas itni
Kar lena baatein kal chahe jitni…
Asha Parekh, Guru Dutt.
All the other male songs by Rafi_ on Guru Dutt and Mehmood.
NARTAKI, 1963.
Shakeel Badayuni.
Hum tumse mohabbat kar baithe
Ab dil se bhulana mushkil hai…
MEHMAAN, 1974.
MK, Deedaar Singh Pardesi, Minoo Purushottam & chorus; Sahir Ludhianvi.
Ram Rahim Krishna Kareem
Yasu Masi aur Ibrahim
Sab ka hai ek hi taalim….
Thanks for a very fitting tribute this great combination of Hindi Film Songs.
Ashokji,
Thanks a lot for your appreciation.
AKji,
This is the fifth article on Ravi in the the year dedicated to the music director. After articles on Ravi-Rafi & Ravi-Asha, Mahendra Kapoor was the appropriate choice. The article on Ravi-Shaqeel was a bonus.
A befitting post and good collection of songs. You have rightly said, the biggest boost for this pair was through BR Chopra Films, and they presented us some outstanding songs.
Thank you once again for this good write up.
AKji,
Ravi composed a beautiful Bhajan in Ragg Kedar, Darashan Do Ghanashyaam Naath Mori Ankhiyaan Pyaasi Re, in 1957 for the film Narsi Bhagat. Much later, in 1971, he composed a song for Mahendra Kapoor in the same Raag. A very pleasing composition and rendition.
Here is the song,
Har waqt tere husn ka hota hai samaa, film Chingari (1971), lyrics Sahir Ludhyanvi
https://www.youtube.com/watch?time_continue=6&v=QbS0LYGX-lU&feature=emb_title
Venkataramanji,
Thanks a lot for your appreciation. Ravi should be very happy in heaven at generous tribute to him on SoY.
Har waqt tere husn ka hota hai samaa aur I heard for the first. Excellent song. Kedar seems to be one of the favourite ragas for reciting ghazals/nazms.
N Venkataraman Ji @ 29;
Har waqt tere husn ka hota hai samaa, film Chingari (1971), lyrics Sahir Ludhyanvi….is a beautiful song heard after a long time. Ragg Kedar itself a very soothing one that takes you at a different level . I think RDB and SJ also used this raag or its variant in…desh ki tammana jaag oothi hai …and ….hone lagi hai raat jaawan jaagte raho.
There are quite a few more of Ravi ,Mohinder Kapoor songs where quality hits the softness but not getting popularity as movie not hitting the box office doors.
APNI AANKHON KE JHAROKHO MEN BITHA LO MUJHKO- MAHENDRA KAPOOR- ASHA- FILM- MAN KA MEET(1968)
https://www.youtube.com/watch?v=ChfKlbhOW30
I thank Venkatraman ji for giving the link to the nice song ‘ Har waqt tere husn ka hota hai samaa… ‘ which I do not recollect having heard .
I met Sh. Mahendra Kapoor in 2002 on his return from a tour of USA. This gentle and smiling person was with me for a few memorable minutes. Being a regular listener of late night FM radio Hindi film songs of the golden era , I could mention to him one of his great songs that I had listened to recently …. ‘ Badli badli duniya hai meri…’ of 1954 that I had liked . He immediately corrected me saying that it was not of 1954 but that it was more recent of around 1962 . [ I give the link…. https://youtu.be/OxNTRH4fAkg ] . I could not say anything to the singer though I was very sure that on the FM radio programme the presenter had announced the year of this song as 1954 . There was no internet or YouTube and no SOY those days where I could verify the correct position and my knowledge of golden era music was little then . Thereafter on 1st of January 2003 I was taken aback when he recognised me over the landline phone and GREETED me for the new year before I could say anything. A great soul with a great memory !!
From the demeanour of this cheerful person then , I never got the impression that he had faced so much struggle in life as I am now learning from AK ji’s write up .
I feel the best tribute to such a soul is to keep listening to his songs , which you can never tire of listening to . I give the link to one of his songs mentioned by AK ji in his write up.
Film… Kaajal , 1968
Song …’ Aap ke paas jo aayega pighal jaayega…
https://youtu.be/x7PqKnXlonc
S Joseph,
Mahendra Kapoor was able to make his mark in a crowded field. Ravi had an important role in this. The two songs you have mentioned are among his very best.
S Josephji @32,
Thanks for posting the song “Badli Badli Duniya Hai Meri”.
AK,
The title says it all. Their best songs were with B R films.
@ 5
“Ijazat ho to puchhe aap his se” I cannot find any similarity with tum mujhe bhool bhi jaon.
The song I find it close to is from Waqt. Maine dekha ek khwab sa dekha hai
https://www.youtube.com/watch?v=ySEhbMI7PCU
Acceptance of the suggestion by an hon’ble participant of SOY that Mahendra Kapoor(MK) had his best songs under BR films when at the same time we accept that Ravi did the maximum to boost MK ; we have to agree that BRC’s dislike for Rafi was perhaps instrumental in Ravi associating and doing his best for MK and we cannot say that Ravi had gone out of his way for MK . C Ramchandra is perhaps the only great MD of the golden era who never had an opportunity to use Rafi in his songs .
Let us listen to another song of Ravi – MK pair that has been mentioned by AK ji…
Film …’ Waqt ‘ , 1965
Song…. ‘ Din hai bahar ke…’
Singers… Asha – MK
Link…
https://youtu.be/Ow_RBVQQBHE
Mumbaikar8,
Ijaazat ho to pooche aap hi se would appear similar to many slow, melodious, recital-style songs. Part of the feeling similarity is emotional. As far as tune is concerned how about Ae sanam jisne bhi tujhe chaand si surat di hai? Does Ijaazat ho to pooche aap hi se sound similar to this song?
S Joseph,
Two points. Ravi was quite popular outside BR too. Rafi was his undisputed no. 1 male playback singers. It is to his credit that he did wonders with Mahendra Kapoor too.
‘C Ramchandra never had an opportunity to use Raf’? Let us not forget he gave the career best songs for Rafi early in his career with films like Safar, Saajan, Nadiya Ke Paar etc. (1946-48). Later if he didn’t use Rafi that much and that prominently it was his own choice. He became very Lata Mangeshkar-centric. For male voice he would often do the honour himself with great success. The only mainline singer for whom he was one of the most important music directors, was Talat Mahmood.
S Joseph,
Ak has mentioned how C Ramchandra gave Rafi his career best song so early in their career despite his mentor was Anil Biswas, but later he flocked more people who preferred to avoid Rafi.
Here is a video that corroborate that, Ramlal talks about rerecording Taqdeer ka fasana.
https://www.youtube.com/watch?v=Sh51Ymxrf_E
An excellent article AK. You have brought out the impact of the alliance on Mahendra Kapoor and illustrated it with a great choice of songs. I really have nothing to add.
AK,
Good post highlighting the successful combination of Ravi and MK. I like all the songs listed by you. ‘Aap aaye’ from Gumrah and ‘Ae jaane chaman’ from Anmol moti are my all-time favorites.
In Gumrah, I like sad version of ‘ in hawavon mein’ more than the happy version.
https://m.youtube.com/watch?v=7SwW50yhZp0
In Humraaz also ‘Na munh chupaake jio ‘ is my all-time favorite.
https://m.youtube.com/watch?v=7SwW50yhZp0
I think credit should also be given to Sahir/ Shakeel/ Rajinder Kishen for the success of this combination.
Mr.Venkatraman @29. I think the song from Chingari “Har waqt.. “is just a rehash of Vasant Desai’s “Hum ko man ki shakti dena” from Guddi
https://www.youtube.com/watch?v=NbchuCfqBls
which itself is possibly inspired by this bandish by Vishnu Narayan Bhatkande…
https://www.youtube.com/watch?v=pqBwD9GsdaQ
Subodh,
Thanks a lot for your appreciation.
Giriji,
Thanks a lot for your appreciation. Yes, Sahir especially deserves credit for many outstanding Ravi’s songs for Mahendra Kapoor.
On the YouTube there are many uploads on ‘ One tune many Songs ‘ etc. One such upload shows 10 Hindi film songs based on a single tune.
link….. https://youtu.be/MYdhFxda054
The current discussion here is somewhat of this kind. Have learnt about Vishnu Narayan Bhatkhande who lived between 1860 to 1936 for the first time . Therefore his composition certainly precedes the Hindi film music golden era. It is quite possible that all the three songs under discussion … ‘ Darshan do Ghanshyam…’ (1957), ‘ Har waqt tere husn ka …(1971) ‘ and ‘ Humko man ki shakti dena ….(1971)’ have been based on the composition of Vishnu Narayan Bhatkhande .
AKji, Bhatiaji & Mr.Joseph,
I am glad that you liked the song ‘Har waqt tere husn ka hota hai samaa’.
Bhatiaji @ 31,
Thanks posting the nice song “Aapni Ankhon Ke Jharokon Mein”.
Besides SJ & RDB, Naushad & Madan Mohan have composed some beautiful songs in this Raag.
Mr Joseph @ 32,
Thanks for sharing your personal interaction with Mahendra Kapoor,
and also for posting the songs from Sangeet Samrat Tansen & Kaajal.
SSW @ 42
Yes, it appears to me too. Incidentally both the films Guddi and Chingari were released in 1971.
Kedar is very touching Raag, many MDs, like Naushad & Madan Mohan have often used it in films. The song ‘Bole to bansuri kahi bajti sunai de’ by Yesudas (film Sawan ko aane do (1979), music Raj Kamal) seems to follow a similar pattern.
Naushad’s ‘Beqas Pe Karam Kijiye’ (Lata, Mughal-e-Azam, 1960, and S D Burman’s ‘Saajan Bin Neend Na Aave’ (Lata, Munimji, 1955) are two of my favourite songs in this Raag.
AKji @ 5, Mumbaikarji @ 35,
It appears to me that all the three songs, “Tum mujhe bhool bhi jaon”, “Maine dekha ek khwab sa dekha hai” & “Ijazat ho to puchhe aap his se” are based on Raag Pahadi. Subodhji and SSW may confirm.
Mr . Venkatraman, Naushad’s and SD’s composition are wonderful and I do like this somewhat unorthodox treatment by Pun dit O P Nayyar. 🙂
https://www.youtube.com/watch?v=3Ez_GyVEST0
AKji,
A very good and very informative post. I am relishing it and the comments. Thanks.
I think the article should have also touched upon Mahendra Kapoor’s shagirdee under Moammad Rafi while writing about his career.
Venkataramanji @48,
That explains. Thanks a lot.
Shachindra Prasadji,
Thanks a lot for your appreciation. Mahendra Kapoor did idolise Rafi, but his great songs are uniquely his own.
SSW & Venkatramanji:
Three more gems in Kedar:
1. ‘Pancchi baawara’ from ‘Bhakt Surdas’ (1943) by Khurshid (MD – Gyan Dutt, Lyricist – D.N.Madhok)
https://www.youtube.com/watch?v=WuQ4pBSoHhE
2. ‘Main paagal, mera manwa paagal’ from ‘Ashiana’ (1952) by Talat Mehmood (MD – Madan Mohan, Lricist – Rajinder Kishan)
https://www.youtube.com/watch?v=wZBoaazU7w4
3. ‘Kanha jaare’ from ‘Tel Maalish Boot Polish’ (1961) by Manna Dey and Lata Mangeshkar (MD – Chitragupt, Lyricist – Prem Dhawan)
https://www.youtube.com/watch?v=qaYRvAArghk
CHINGARI, 1971, also had two MK duets with Asha Bhonsle.
Main kya hoon, Main kaun hoon
Itna toh kabhi poocho….
Tu bol na bol, Bas rehe mere khol
Tere seeti tere pyaar ki khol rahi hai pol!!!
( Here, the heroine is a habitual whistler.)
The Sanjay Khan, Leena Chandavrkar, Shatrughan Sinha,Pran, Rehman, Junior Mehmood, Leela Mishra movie was directed by Ram Maheshwari, of KAAJAL and NEELKAMAL fame. But the music and the movie are not of the standard of the earlier two. His Punjabi movie NANAK NAAM JAHAAN HAI was a super hit, the first major post independence Punjabi movie. Music by S Mohinder was very popular and won the National Award for the best music.
KARMAYOGI ( Kalyanji Anandji) and CHAMBAL KI KASAM ( Khayyam… with the beautiful Simti hui ye ghadiya_ Rafi, Lata) were his later movies.
Mahinder Kapoor was a part of most of his films.
SSW @ 49,
O P Nayyar, supposedly not trained in classical music, had the ability to produce superb Raag based compositions. Thanks for posting his exceptional creation “Aap Yun Hi Agar Hum Se Milte Rahe”.
Ashwinji @ 52,
Thank for posting the three nice pieces based on Kedar.
“Panchee Bawara” is one of Gyan Dutt’s popular composition.
Pradeepji @ 53
Thanks for the additional information. Although the film Chingari was made in 1971, it was released in 1989.
And the links to the songs mentioned by you
Tu bol na bol, Bas rehe mere khol
Tere seeti tere pyaar ki khol rahi hai pol!!!
( Here, the heroine is a habitual whistler.)
Seeti mar ke jo kehna hai
Bol ke kyu nahi kehti
Are bol ke kyo nahi kehti
https://www.youtube.com/watch?v=2kMZDRHlAkI
Main kya hoon, Main kaun hoon
Itna toh kabhi poocho….
https://www.youtube.com/watch?v=YxgiT1DLPI4
PS: In this film Tiwari, the villain, appears as a transvestite- in pink nightie!
“AKji,
The repeated mention of the ‘BRC-Ravi-Sahir-MK’ combination prodded me to ascertain how this tetra-combination came about.
Sahir Ludhyanvi was the first to come under B R Films fold, when B R Chopra opted for O P Nayyar and Sahir Ludhyanvi as the MD and lyricist respectively for Naya Daur in 1957. Naya Daur was the second film under BR films banner. Earlier Sahir had penned one song for B R Chopra’s second directorial venture, Shole (1953), “Ye mausam ye hawaye ye rut suhani fir na aayegi ….nigahe mila, nigahe mila”. 1957 was the year Sahir parted ways with O P Nayyar (also with S D Burman). After Naya Daur, due to some differences, O P Nayyar did not wish to work with Sahir Ludhyanivi anymore. Sahir entrenched himself under BR Films umbrella and the partnership was to last for a long time.
Mahendra Kapoor came next. BRC’s next film was Sadhna (1958). I understand that it was Sahir who brought N Datta to B R Films after O P Nayyar’s departure. N Datta had great respect for Sahir. Sahir had good working relationship with N Dutta, from the time when he was the assistant to S D Burman. Besides they had worked together in Milap (1955), Marine Drive (1955), Chandrakanta (1956) & Lighthouse (1958). B R Chopra continued with N Dutta and Sahir Ludhyanvi for two more films, Dhool ka Phool (1959) & Dharmputar (1961). N Dutta was very much impressed by Mahendra Kapoor’s rendition of Naushad composition ‘Chaand Chhupa Aur Taare Doobe’ (1958), and he brought Mahendra Kapoor to BR films/ Yash Chopra. N Dutta gave Mahendra Kapoor four duets in Dhool Ka Phool (1959). The duet with Lata Mangeshkar ‘Tere Pyar Ka Aasra Chahta Hoon’ became popular and thus made his entry as a permanent singer for B.R.’s camp. And Mahendra Kapoor rendered 4 solos and a duet for the film Dharamputra (1961). Thus we can say that ‘”Chaand Chhupaa Aur Taare Tute Raat Gazab Ki Aai” to an extent acted as the catalyst for his entry into B R Chopra’s fold. But N Datta could not cement his place in BRC’s Camp.
The first film under B R Films banner was Ek hi Raasta (1956). Hemant Kumar was the MD and Ravi was his assistant. Though Ravi had started giving music independently, he continued assisting Hemant Kumar for some time. Prior to Ravi’s entry in B R Films banner, Mahendra Kapoor had rendered 3 duets with Asha Boshle for Ghunghat (1960) & Nai Maa (1960) for Ravi. After Chaudhvin ka Chaand’s success, HMV organized a party at th Taj Hotel. B R Chopra was among the invitees. Ravi had interacted with B R Chopra while working as assistant to Hemant Kumar in the film Ek hi Raasta (1956). B R Chopra offered Ravi to do the music for his next film Gumrah (1963). Thus Sahir-Mahendra Kapoor- Ravi came together under the B R Films banner for the first time. As per Ravi, both Md.Rafi and Mahendra Kapoor were to render the songs for Gumrah (1963). As mentioned by you, due to issues between Md. Rafi & B R Chopra, Md.Rafi had to make way for Mahendra Kapoor. That proved to be the turning point for Mahendra Kapoor.
AKji,
While on ‘”RC- Ravi- Sahir- MK”, let me put forth a few lines on ‘Chalo ek baar phir se ajanabi ban jayen hum dono’.
Your first article on Mahendra Kapoor was on the song ‘Chalo ek baar phir se ajanabi ban jayen hum dono’. That was in the first year of SoY (28/12/2010). There you wrote that you would easily rate this song, written by Sahir Ludhiyanvi, among Ravi’s all time greats, which brings out Mahendra Kapur’s individuality so sharply. I fully endorse your views. It was an excellent post with an equally good translation of the song. Again it came up for discussion in SoY for wrong reasons later in 2013.
There are several stories making the round on the origin of the song. And often the line between fact and fiction got blurred. ‘Chalo ek baar phir se ajanabi ban jayen hum dono’ was not an original composition for Gumrah (1963). Sahir Ludhyanvi wrote this poem much before his film days. It was published, towards the end of 1943 and beginning of 1944, under the title ‘Kubsoorat Modh’ in Sahir’s first collection of poems, ‘Talkhiyaan’, when he was twenty three years of age.
Ashwin, Mr.Venkatraman another aside since I have nothing to comment on Mahendra Kapoor. He is not a favourite. Even “Chalo ik baar” makes me a little uneasy especially when he sings “tarruf rog ho jaye”.
Coming back to Kedar the treatment of its equivalent Hamir Kalyani in Carnatic music is somewhat different. It seems to be closer to O P Nayyar’s treatment. Listen to this Malayalam composition…
https://www.youtube.com/watch?v=IwTVfPwVY2I
Or this treatment in Tamil
https://www.youtube.com/watch?v=wj2V-EaQHEo&list=PL8FFGnOPK_edNYCvu1HPG8we9VaFijq75&index=7
Venkataramanji @56,
This is awesome information. Thanks a lot.
@57,
The object of Chalo ek baar phir se is variously described as Amrita Pritam and Sudha Malhotra. The one about Sudha Malhotra is more in circulation. That too is said in various versions. The one on rekhta.org says, “Their love for each other was genuine but social taboos came in between. Sudha was betrothed and her wedding date was announced. This was precisely when some of his friends organised an event one evening in his honour. In this mehfil of friends Sudha was also invited. She joined them knowing very well that this would be her last meeting with Sahir. ….Sahir chose to recite one of his most celebrated nazms ‘Khoobsurat Mod’ which has a moving line ‘Chalo ek baar phir se ajanabi ban jaaayen hum dono’. After Sahir finished passionate reading of this nazm, the audience appeared moved beyond all description. Faces turned sad, eyes were moist, and un unending silence prevailed.” Beautiful story, other variations too are quite sweet.
I understand the original nazm was longer and only the first three stanzas were used for the song. He also changed a difficult Urdu word (I don’t remember the word now) and replaced it with the easier ‘anjaam’ in ‘Wo afsana jise anjaam tak lana na ho mumkin’.
A personal aside. I had translated this nazm more than twenty years ago; one of the friends on SoY, Arvind might remember the approximate period. When I started blogging this seemed a nice one to write on. I am aware SSW is underwhelmed by the song, but it is my great favourite.
AK @59. Not underwhelmed by the song at all, I am able to separate this particular interpretation by this singer from the song.
Perhaps in the many worlds of quantum mechanical probabilities there exists a world where the wave function would collapse on a rendition that I liked. 🙂
Venkataraman @ 29
Kedar topic is quite interesting, now a lot of songs sound similar to Darshan do ghashyam.
This qawwali by RDB from Burning Train seems similar too/
Correct me if I ma wrong.
SSW,
That probability may be one in a trillion. Not worth waiting. 🙂
Since you like the ‘song’ and not MK’s rendition, perhaps you will like Sahir’s own recital more. (To me it sounds flat.)
https://youtu.be/Lmau-G8q6aM
PS: The uploader has put in Amrita Pritam’s pictures. Isn’t it uncanny that both ‘Sudha’ and ‘Amrita’ mean the same thing? Since it is impossible to determine it was this or that, it can be only explained by Quantum Mechanics.
AK,
SSW is not the only one even Dr. She tty has expressed his ” kaash” for you know who would have sung this Ghazal
Mumbaikar8,
I do not agree with his ‘kaash’. All great songs get embedded in our memory in the voice it was sung. I find it difficult to imagine the song in any other voice. The only exception is when voices are very similar, for example Lata Mangeshkar for Suman Kalyanpur or Usba Mangeshkar, Hemant Kumar for Subir Sen or Dwijen Mukherjee.
AK@59.
The year, perhaps, was 1995/96.
Arvind,
That makes 24 years. Thanks.
https://m.youtube.com/watch?v=xjSMyoMJi40
Another song in Hameer Kalyani(equivalent of Kedar) from Tamil film Karnan tuned by Viswanathan-Ramamurthy.
SSW @ 58,
“…makes me a little uneasy especially when he sings “tarruf rog ho jaye”.”
Yes you have a point. He sounds jarring here. The pitch could have been softer. Yet I like this song. Besides the rendition, may be due to Sahir’s lyrics.
Thanks for posting the two beautiful songs. Made good listening. I find shades of Sahana (Carnatic) in the Malayalam song Chembaka Malaroli Pon Noolil Ninakkayi chandana manigal naan korutthu vechhu.
Kedar and Kamod, I believe, are allied to Hamir, but having different chalan / movement.
AKji @ 59,
There may be many variations. Sudha Malhotra consistently maintained that it was a one sided affair.
Your translation was 24 years before; I thought it was done when you were 24 years of age.
Mumbaikarji @ 61,
Yes, you are right. “Pal Do Pal Ka Saath Hamara” was based on Kedar.
Giriji @ 67
Yes, I t seems to me “Ennuyir Thozhi kelloru Kelvi” is closer Kedar. Thanks for posting the song.
AKji, A very interesting read, along with all the interesting comments. Thanks for the wonderful share.
Sangeetaji,
Thanks a lot for your appreciation.
This beautiful song in Bhupali! Ravi and Mahendra Kapoor were an amar jodi!
https://www.youtube.com/watch?v=jblsi0i8vJ0
Karthik,
Long time! Welcome again to SoY. Let me first say that you were writing a top quality blog, but it seems it is dormant since 2015.
Yes, Husn aur ishq ke takraane ki raat ayi hai is a beautiful song.
Thanks for your kind words AK! I plan to revive my blog at the earliest.I have lots of themes lined up,several of them on classical music.
Why no mention of the songs from Nikaah (1982) – Dil ki Ye Arzu thi ki (incidentally which was Filmfare Award nominee for best lyrics) and Abhi alwida mat kaho dosto. This was probably the last hit song from the duo. After that the movies they collaborated on were non-descript ones such as Tawaif, Sheetal, Dehleez, Chingari, etc. Later there was one more movie from BRC-Ravi-MK combine- Aaj ki Awaz in 1984 and Awam in 1987, which didn’t feature any memorable songs either. Also the MK- Ravi duo was mostly featured in BRC films. For other films outside BRC camp, Ravi preferred Md. Rafi. This can seen from the songs count that MK and Rafi had under the MD Ravi. Of the 750 odd songs of Ravi, Md Rafi featured in as many as 125 plus songs in either solo or duets, while MK featured only in about 50 songs.
S Ketan,
Welcome to SoY and thanks a lot for your comments. There is mention of Nikaah in the write up. Yes, I have not posted any song from the film, because I have to select some songs from the total. Rafi was by far the most important male singer for Ravi. My information is that he sang about 250 songs, about double the number you have mentioned for Ravi. Thanks also for all the information about the later career of MK-Ravi.